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VCE STUDIO ARTS RESOURCE VCE Studio Arts: Art Industry Contexts Online Exhibition Resource for “The Unquiet Landscape”

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VCE STUDIO ARTS RESOURCE VCE Studio Arts: Art Industry Contexts Online Exhibition Resource for “The Unquiet Landscape” Castlemaine Art Museum CAM VCE STUDIO ARTS RESOURCE VCE Studio Arts: Art Industry Contexts Online Exhibition Resource for “The Unquiet Landscape” Castlemaine Art Museum exterior. Image: CAM. HOW TO USE THIS EDUCATION RESOURCE CURRICULUM LINKS This education resource is to help VCE Studio Arts teachers and 2020 adjusted curriculum students explore the exhibition “The Unquiet Landscape” at for VCE Studio Arts: Castlemaine Art Museum (CAM). Unit 4, Outcome 3, This online resource provides curriculum-focused information Art Industry Contexts about how the curator, Jenny Long, worked with art industry professionals at Castlemaine Art Museum (CAM) to prepare and present artworks for the exhibition. Two works from the exhibition are examined in depth as case studies in relation to methods and considerations for conservation and display. Teachers and students are encouraged to visit CAM to explore the exhibition. CAM staff are happy to answer specific questions. Email [email protected] Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 1 of 17 “The Unquiet Landscape”, Whitchell Gallery installation, Castlemaine Art Museum, 2019. Foreground, Unknown maker (possibly from central Australia), Kangaroo or Wallaby c1931, Castlemaine Art Museum. Acquired by Mr Albert Miles, Castlemaine in 1931. Image: Brodie Ellis. Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 2 of 17 Introduction to Castlemaine Art Museum CAM is a regional gallery located on Dja Dja Wurrung country in the culturally vibrant artistic community of Castlemaine. Established in 1913, it is unique in the Australian cultural landscape as a gallery established by community subscription. It moved into purpose-built premises in 1931. Its heritage- listed building is one of the earliest examples of Modernist architecture in regional Victoria. CAM collects, cares for and exhibits artworks, objects and cultural belongings, which are held in its art and social history collections. From time to time CAM borrows artworks from private art collections, institutions and artists. CAM curates and presents a calendar of temporary and touring exhibitions. Works are interpreted through catalogue essays, wall texts and online via CAM website and social media posts. To engage audiences, CAM hosts events and public programs which the community can attend. It also delivers education programs for students and teachers. CAM has a small retail area where it promotes and sells art books and a selection of items made by local artisans and designers. CAM has been sustained through community effort for over one hundred years. It receives triennial state support through Creative Victoria and local government support from the Mount Alexander Shire Council. CAM also has significant financial support from an anonymous benefactor courtesy of Smith & Singer, and other philanthropic support. Donations to CAM are tax deductible. Regular and crucial support is also received through the local community, including through the Friends of the Castlemaine Art Museum and donations given when visitors enter the gallery. CAM also has a wide range of in-kind supporters that donate or provide goods and services at cost, including Art Guide Australia, Tint Design and local businesses such as Union Studio Art Framers. Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 3 of 17 Collection CAM holds one of the most important collections of Australian art in regional Victoria. The collection has a strong emphasis on landscape painting and includes major works from the 19th and 20th centuries. Contemporary artists are also represented, with a focus on Central Victorian artists. Cultural belongings and artworks made by First Nations artists have been included in the CAM collection from its inception. Many of these items were gifted to the museum during a time when very little information was collected about the artists. Today CAM is consulting with First Nations people to find out more about these works. In 2020 CAM repatriated a suite of cultural belongings to the traditional First Nations owners on the specialist advice of Aboriginal Victoria. This is a very formal legal process and an important undertaking in the reconciliation process between First Nations people and the settler community. CAM is also the custodian of a fascinating collection of items of local significance including historical documents, photographs, fashion and decorative arts from the Mount Alexander Goldfields District. Organisational Structure CAM is unusual for a regional gallery because it its owned by a Trust, rather than by local government. CAM has a Board of Directors, a small team of professional staff including a Director, Front of House Manager and Assistant Gallery Manager, and a large group of volunteers who are crucial to CAM’s ongoing operations. Other specialists that assist CAM include consultants who are experts in collections management, curating, conservation, bookkeeping, website development, graphic design and education. When new exhibitions are being installed, CAM employs local artists with installation experience as art handlers. For more information visit castlemainegallery.com Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 4 of 17 Exhibition Case Study: “The Unquiet Landscape” “The Unquiet Landscape”, Whitchell Gallery installation, Castlemaine Art Museum, 2019. Image: Felix Wilson. Exhibition Brief In 2019 CAM’s new Director, Naomi Cass, invited Bendigo- based curator Jenny Long to guest curate a thematic group exhibition at CAM. For this project, Long proposed revitalising the exhibition in the Whitchell Gallery which had not been altered for many years. The new exhibition recontextualises a selection of major, framed oil paintings, decorative arts and ephemera from CAM’s permanent collection, alongside previously unexhibited artworks by First Nations artists from the CAM collection and works on loan from Australian contemporary artists, including First Nations artists. Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 5 of 17 A Literary Theme The 1922 novel Kangaroo, by renowned British author DH Lawrence, was selected as a lens through which to re-imagine the CAM collection. Kangaroo was chosen because it includes elements that correspond to the subject matter of major works in the CAM collection (landscapes and portraits) but also contains elements that have not been visible in the collection (the presence of First Nations people, tensions between proto-fascist nationalist and socialists in the aftermath of World War 1). Lawrence and his wife visited Australia in 1922 and during this visit he wrote beautifully about the Australian landscape, beach Christian Thompson, b. 1978, Sip from the Unseen, 2017, c-type print on and regional towns. Fuji Pearl Metallic Paper. Courtesy the artist and Sarah Scout Presents. Jenny Long has carefully paired each artwork in the exhibition with a quotation from the book in order to set up a conversation between image and text that encourages viewers to approach familiar collection works in new ways. In the past, visitors to the permanent collection were usually left with the impression that the 1920s and 30s in Australia were a golden arcadia. Lawrence’s novel challenges that view and reminds us of the bitter struggles that were taking place in the shadows, concerning what kind of society Australia should be. Lawrence’s characters in the novel represent two opposing political movements that correspond to Fascism and Communism, which, at the time, were just fledgling movements. In 1922 these were new, untested and exciting ideas resonating in Australia and across the world. In the novel, the character of Kangaroo is a Sydney lawyer and the leader of a Fascist movement made up of returned service men, while the Socialists are represented by Willie Struthers, the local leader of the trade union movement. The characters embody nationalistic and xenophobic attitudes that were widespread in Australia (such as support for the White Australia Policy). Lawrence uses the character of a returned soldier, Jack, as a mouthpiece for many of the attitudes which he most disliked in Australian society. Castlemaine Art Museum VCE Studio Arts: Art Industry Contexts Page 6 of 17 In the novel, unlike most European Australian writers of the period, DH Lawrence acknowledged a strong sense of the presence of First Nations peoples in the landscape. This provided an opportunity to include several works by unknown historical First Nations artists in the exhibition, as well as works by contemporary First Nations artists Leah King-Smith and Christian Thompson. Procession down Mostyn Street Castlemaine The novel is set in the same period that CAM’s collection c1920s, black and white photograph. was being formed and many of its most important works Castlemaine Historical Museum. were produced. There are some fascinating parallels between the themes of the novel and the works of art and objects in the permanent collection. For instance, the political themes enabled the curator to include works such as Noel Counihan’s linocuts of miners (DH Lawrence was a coal miner’s son) and objects from the museum such as wonderful historical photos of local workers in Castlemaine during a May Day march. Curatorial intention and process Curating an exhibition is a spatial practice: it’s about enticing a viewer to walk through a gallery space exploring visual art and occasionally sound art. Curators use art, objects, lighting, wall
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